敦煌研究
敦煌研究
돈황연구
Dunhuang Research
2012年
5期
1~8
,共null页
敦煌莫高窟 龙门石窟 隋唐时期 造像思想
敦煌莫高窟 龍門石窟 隋唐時期 造像思想
돈황막고굴 룡문석굴 수당시기 조상사상
Mogao Grottoes at Dunhuang; Longmen Grottoes; Sui and Tang Dynasties; Themes in image creation
本文探讨敦煌莫高窟与龙门石窟造像的思想背景,列举了基于＂一即多,多即一＂法则的＂诸佛＂概念、＂本迹思想＂作用的事实。尽管初唐莫高窟出现了大幅式的阿弥陀净土变,但正壁多为释迦系造像,信仰中心仍然以法身与释迦为主。初盛唐时期莫高窟与龙门石窟的造像主题、形式迥然不同,是由于两处石窟的功能、作用异同所致。
本文探討敦煌莫高窟與龍門石窟造像的思想揹景,列舉瞭基于＂一即多,多即一＂法則的＂諸彿＂概唸、＂本跡思想＂作用的事實。儘管初唐莫高窟齣現瞭大幅式的阿瀰陀淨土變,但正壁多為釋迦繫造像,信仰中心仍然以法身與釋迦為主。初盛唐時期莫高窟與龍門石窟的造像主題、形式迥然不同,是由于兩處石窟的功能、作用異同所緻。
본문탐토돈황막고굴여룡문석굴조상적사상배경,열거료기우＂일즉다,다즉일＂법칙적＂제불＂개념、＂본적사상＂작용적사실。진관초당막고굴출현료대폭식적아미타정토변,단정벽다위석가계조상,신앙중심잉연이법신여석가위주。초성당시기막고굴여룡문석굴적조상주제、형식형연불동,시유우량처석굴적공능、작용이동소치。
This paper exemplifies the concept of ＂various Buddhas＂ and the function of ＂Buddha＇s various manifestations＂ based on the principle ＂One in all, all in one＂ by studying the themes in image creation at Dunhuang Mogao Grottoes and the Longmen Grottoes. Though large-sized sutra illustrations appeared in the Early Tang Dynasty at the Mogao Grottoes, most front walls contain images related to Sakyamuni, showing that the faith was focused on Dharma-kaya and Sakyamuni. Nevertheless, the Mogao Grottoes completely differ from the Longmen Grottoes in image themes and forms owing to the differing functions and roles of the two Grottoes.
